Exiled Writers: Tragedy, Liberation, or Both?

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What happens when a writer’s homeland turns against them? When the very act of writing becomes dangerous?

I talk about this in my recent YouTube video. Please have a watch and leave me a comment over on YouTube.

Exile has shaped literature across centuries. Some writers were formally banished by governments or political regimes; others fled by choice, fearing censorship, imprisonment, or death. Below is a chronological (not necessarily exhaustive) list of writers, divided into those exiled against their will and those who left voluntarily but carried exile’s weight in their work.


Writers Forced into Exile

Dante Alighieri (1265–1321) – Banished from Florence in 1302, he wrote The Divine Comedy while in exile, weaving political and personal anguish into one of the greatest works of world literature.

Ovid (43 BCE–17 CE) – The Roman poet was exiled by Emperor Augustus to Tomis (present-day Romania) for reasons still debated; his exile poems ache with loss and longing.

Voltaire (1694–1778) – The French Enlightenment writer spent years exiled in England after offending powerful figures with his sharp wit.

Lord Byron (1788–1824) – Though not officially banished, Byron fled England amid scandal, living and writing abroad until his death in Greece.

Victor Hugo (1802–1885) – Exiled from France for opposing Napoleon III, Hugo spent nearly 20 years abroad, where he wrote Les Misérables.

Émile Zola (1840–1902) – Fled France after publishing “J’Accuse,” his famous open letter defending Dreyfus; he lived in exile in England.

Oscar Wilde (1854–1900) – Imprisoned for “gross indecency,” Wilde left England after his release, living in France until his death.

Stefan Zweig (1881–1942) – The Austrian writer fled Nazism, living in the U.S. and Brazil, where despair drove him to suicide.

Bertolt Brecht (1898–1956) – Exiled from Nazi Germany, he lived in Scandinavia and the U.S., continuing his politically charged plays.

Pablo Neruda (1904–1973) – The Chilean poet and diplomat lived in exile due to his political activism.

Salman Rushdie (1947– ) – A fatwa issued in 1989 over The Satanic Verses forced Rushdie into hiding for years under police protection.

Ahmed Naji (1985– ) – Egyptian novelist imprisoned for “violating public morality,” later fled into exile.

Homeira Qaderi (1980– ) – Afghan writer and activist exiled for her outspoken defense of women’s rights.

Mohsen Emadi (1976– ) – Iranian poet and filmmaker forced into exile for political reasons.

Samar Yazbek (1970– ) – Syrian journalist and novelist, repeatedly exiled for her outspoken opposition to the Assad regime.


Writers Who Chose Voluntary Exile

James Joyce (1882–1941) – Left Ireland voluntarily, disillusioned with its politics and religion; wrote Ulysses while living abroad.

Joseph Conrad (1857–1924) – Born in Poland, lived much of his life abroad; adopted English as his literary language, embodying cultural exile.

Franz Kafka (1883–1924) – Though he never physically left Prague, Kafka lived as an “internal exile,” alienated by language, culture, and identity.

T.S. Eliot (1888–1965) – Born in the U.S., he chose to settle in England, where he became one of the most influential modernist poets.

D.H. Lawrence (1885–1930) – Left England after censorship battles, traveling widely and writing novels that challenged repression.

Ernest Hemingway (1899–1961) – Though not exiled politically, Hemingway chose to live abroad in Paris, Spain, and Cuba, shaping his identity as a writer.

Vladimir Nabokov (1899–1977) – Fled revolutionary Russia, then Nazi Germany; lived in exile in Europe and the U.S., writing masterpieces in his adopted English.

Carlos Fuentes (1928–2012) – The Mexican novelist often lived abroad, his work exploring identity, politics, and displacement.

Octavio Paz (1914–1998) – Spent long periods outside Mexico, his essays and poems grappling with cultural and political exile.

Isabel Allende (1942– ) – Fled Chile after Pinochet’s coup; much of her work (The House of the Spirits) explores exile, memory, and belonging.

José Donoso (1924–1996) – Chilean writer who lived in voluntary exile, exploring alienation in Latin American society.

Julio Cortázar (1914–1984) – Left Argentina for Paris, where he became a leading figure of Latin American literature in exile.


If you could self-exile, where would you go?

If your government were to exile you for your words or the stories you want to tell but haven’t yet, what would they be about?

Tell me in the comments, please!

As always, sending you mad writing mojo…

Happy writing!

Notice and disclaimer: This list was generated with the help of AI.

6 Essential Types of Backstory (and How to Use Them to Write Better Fiction)

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Backstory is one of the most powerful—and fun—tools we have as fiction writers.

It deepens character, enriches the present action, and helps readers make sense of a character’s motivations, desires, and emotional complexity. When done well, backstory doesn’t interrupt the flow of your narrative—it enhances it.

In this post, I’ll walk you through six key types of backstory, how they show up in fiction, and how to use them strategically in your writing.

1. Context

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Context backstory provides readers with a look into your character’s past environments—both external and internal—through descriptive narrative.

These can be:

Spatial environments (e.g., the house they grew up in)
Temporal environments (e.g., a specific time period like the summer of 1978)
Emotional environments (e.g., the mood and feel of a childhood household)

Example:

“The old, rusted out car at the side of the house wasn’t just a car; it was a silent symbol…” *

In this example, the physical object (the car) becomes a container for layered meaning—a tool to deliver emotional and historical resonance without breaking the story flow. We see both the sweetness of childhood memories and the trauma of a life-altering accident in one compact scene.

*For the entire example, view my video on backstory on YouTube.

2. Memory / Recollection

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Backstory through memory typically emerges when something in the present triggers a character’s recollection.

Triggers can include:

An event (a funeral, wedding, or birth)
Another character (someone who resembles or reminds the protagonist of someone else)
An object (a necklace, a flower, a familiar song)

This can take the form of:

A brief expository recollection
A vivid flashback scene
A drip of information spread throughout the story

3. Flashback

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Flashbacks are full-blown scenes from an earlier time that interrupt the main story. Unlike descriptive context, flashbacks tend to be dramatized with dialogue, action, and vivid setting details.

Think of a flashback as a scene, not a summary.

Example from Miranda’s Garden:

“Her parents call again. Miranda takes one last look at her creation, wishes it well with a bow, and dashes back into the corn…” *

This excerpt plunges us into Miranda’s lived experience with rich detail and emotional intensity. The flashback becomes a living, breathing part of the story world.

*For the entire example, view my video on backstory on YouTube.

Novels that use flashbacks well:

The Girl on the Train by Paula Hawkins
Gone Girl by Gillian Flynn

4. Drip

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Drip backstory is when you reveal a character’s past in small, carefully placed bits throughout the narrative—never all at once.

This technique keeps readers curious and engaged, often building suspense or emotional impact.

Example from Miranda’s Garden

“Miranda lived with a kind of Illusion, which had infiltrated her awareness many years before, starting with the death of her parents when she was five…”

Just one line, and yet we glimpse a major trauma that shapes Miranda’s inner world. The reader wants to know more.

Novels that use drip backstory:

The Goldfinch by Donna Tartt
V for Vendetta by Alan Moore & David Lloyd
Station Eleven by Emily St. John Mandel

5. Exposition / Summary

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Exposition is the direct telling of backstory, either through the narrator’s voice or through indirect cues like action, dialogue, or setting.

This can be:

Direct: The narrator explains what happened.
Indirect: We learn through implication, mood, or metaphor.

Examples:

The Hobbit by J.R.R. Tolkien (direct explanation of hobbits and their lifestyle)
The Midnight Library by Matt Haig (direct)
One Hundred Years of Solitude by Gabriel García Márquez (both direct and indirect)

Use exposition sparingly—but don’t be afraid to use it. Sometimes, a quick summary is the most efficient way to ground your reader in the story world.

6. Dialogue

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Dialogue is one of the most natural and seamless ways to slip backstory into your fiction. When done well, it reveals history, relationship dynamics, and emotional stakes—without feeling like exposition.

Example:

“So, how do you know Marcus?” Rochelle asked.
“Oh, we go way back,” said Ayla.

“Let’s just say we got into some things…”
“What kinds of things…?”
“Think vacant houses, a secret club, and a vow to never tell anyone about any of it.” *

Here, the backstory unfolds like a game of cat and mouse. The reader becomes part of the conversation, piecing together history with every line.

*For the entire example, view my video on backstory on YouTube.

Novels that use dialogue-based backstory:

The Salt Witch by Martha Wells
• Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers

Final Thoughts: Why Backstory Matters

Backstory is more than filler. It’s an engine for character development, emotional resonance, and thematic depth.

When we as writers explore our characters’ pasts, we don’t just create richer stories—we come to understand their present-day fears, desires, and behaviors on a deeper level. And when we understand them better, so do our readers.

Backstory is where we connect the dots, where the emotional truth of a character is born.

Want to learn more?

My next flip book—What You Need to Know About Backstory to Write Good Fiction—is almost ready. In it, I’ll be sharing tips to help you decide which backstory approach best suits your characters, your genre, and your narrative structure.

To receive a notification about when it and other upcoming flip books are available, follow me on YouTube and Substack.

Until then…

As always, sending you mad writing mojo.

Happy writing!

— Johnnie

3 Types of Setting for Fictional Stories

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Want to know how you, as a writer, can wave your magic wand and suspend your readers’ disbelief while you weave them into your fictional world like a fine strand of vicuña wool?

SETTING.

Setting is one of the most important foundational writing elements required in fiction writing.

Here are 3 types to consider and work with.

Temporal Setting

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Temporal setting is time-specific.

This is the period or era in which the story takes place.

Temporal setting also includes cultural settings.


Examples

Present-day Africa vs. Victorian England vs. Renaissance Italy

1960s America vs. 1990s America vs. present-day America


Novels that use temporal setting

Cloud Atlas by David Mitchell (Adapted to film by The Wachowskis (Lana and Lilly)—A metafiction, historical fiction, contemporary fiction and science fiction novel that spans different time periods and locations with interconnected stories

1984 by George Orwell—A dystopian novel set in the fictional superstate of Oceania, a totalitarian society under constant surveillance and propaganda, where individual thought and freedom are suppressed, primarily set in a fictionalized version of London 

Spatial Setting

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Spatial setting is location-specific.

This is where—in the world—your story takes place.


Examples

Switzerland vs. Italy vs. China

Rome vs. Venice vs. Naples


Novels that use spatial setting

Narnia in The Chronicles of Narnia by C.S. Lewis—A portal fantasy novel set in the fictional realm of Narnia, a fantasy world of magic, mythical beasts, and talking animals

The Emerald City in The Wonderful Wizard of Oz by L. Frank Baum—A children’s novel set in the magical world of Oz, about a girl who wants more from her life than the one she has on her family’s farm in Kansas, only to find that there’s. no place like home. 

Environmental Setting

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Environment setting, like spatial setting, is also location-specific, but more fine-tuned, even intimate


Examples

The protagonist’s home vs. workplace vs. studio

A mountain cabin vs. a car’s interior vs. a seedy motel room


A novel and a short story that use ONLY environmental setting

Room by Emma Donoghue (Adapted to film w/ Jodie Foster & Jacob Tremblay)—A young boy and his mother are prisoners in a single room since his birth, with the story told from his perspective

“The Yellow Wallpaper” by Charlotte Perkins Gilman—A short story that details a woman’s descent into madness as a result of patriarchal constraints: being kept in a single room with no way out


Questions

What’s the favorite setting you’ve used in your own fiction?

What’s the setting in one of your favorite novels that you STILL think about?


Want to know more about how to write and use setting in your fiction?
https://lnkd.in/gXY2fJyb

Sending you mad writing mojo…

Happy writing!

Rules for Writing Romance Novels—How to Create Love Stories That Meet the Genre’s Demands

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Ever dreamed of writing a romance novel? 

If you’re an avid reader and a fan of the genre, or if you think it would be a fun way to make a few extra dollars, you’ll need to understand the expectations of romance readers so you can meet this huge, devoted audience where they are and deliver. 

Let’s break down the fundamentals that every romance writer should know.

1. Focus on the Central Love Story

At the heart of every romance novel is a love story, of course. This doesn’t mean you can’t include subplots or delve into the personal growth of your characters, but the romantic relationship should always take center stage. Readers expect to follow the journey of two (or more) characters as they navigate obstacles, discover their feelings, and ultimately find love. If the love story feels secondary to another plot line, you risk losing your audience.

2. Guarantee a Happily Ever After (HEA) or Happy For Now (HFN)

Romance readers expect a satisfying conclusion. (It’s not real life, after all.) The characters don’t necessarily need to get married or ride off into the sunset, but the ending should make it clear that their relationship is solid and that they’re happier together than apart. In contemporary romance, an HFN might involve the couple committing to each other without immediate plans for marriage or children. You can have a tragic ending or unresolved romance in your novel, but that will put it outside the romance genre.

3. Create Compelling, Relatable Characters

Strong characters are essential for a great romance novel. Your protagonists should be multidimensional, with human strengths, flaws, as well as relatable desires and motivations. You want your readers to root for them and see them as real people. Your characters don’t have to be perfect. In fact, imperfections often make them more engaging. What’s important is that their growth and emotional journey feel authentic.

4. Develop Emotional Intensity

Romance thrives on emotion. The story should evoke feelings of joy, heartbreak, passion, and longing in your readers. To accomplish this, delve deep into your characters’ inner lives. What are their fears, desires, and vulnerabilities? How do these play into their relationship? Show readers the highs and lows of falling in love through vivid, emotionally charged scenes.

5. Establish Chemistry Between the Characters

Chemistry is the magic that makes a romance novel unforgettable. It’s not just about physical attraction (though that’s often a component) but also about the connection between your characters. Their interactions should crackle with energy, whether they’re bantering, arguing, or sharing quiet moments. Show their growing bond through dialogue, body language, and small details, like gestures of love.

6. Introduce Conflict and Tension

Obstacles are essential in the romance genre. Conflict creates the tension that keeps readers turning the page. This can be internal (a character’s fear of commitment) or external (a meddling ex, a rivalry that creates jealousy, a family feud, or geographic distance). The key is to ensure that the conflict is believable and rooted in the characters’ lives. Avoid manufactured drama that feels forced or melodramatic.

7. Pace the Relationship Realistically

While romance novels often have a faster pace than real-life relationships, the progression of the romance should still feel natural. Give your characters time to get to know each other and build trust. Even if they’re physically attracted right away, emotional intimacy should develop more gradually. It creates great tension, too.

8. Craft Engaging Dialogue

Great dialogue is essential in a romance novel. It’s through conversations that your characters reveal their personalities, share their vulnerabilities, and build their connection. Aim for dialogue that feels natural but purposeful. Every line should either advance the plot, deepen the relationship, or reveal something about the characters.

9. Show, Don’t Tell

The age-old writing adage most definitely applies here. Instead of telling readers that your characters are in love, show it through their actions, words, and thoughts. For instance, instead of writing, “She loved him,” describe how her heart races when she sees him, how she gets butterflies when she thinks of him, or how she defends him if a family member or friend has doubts about him. By showing the relationship’s progression, and your protagonist’s growing devotion to her love interest, you allow readers to experience the love story firsthand.

10. Choose the Appropriate Setting

While there’s no “right” setting for a romance novel—because love happens everywhere—the setting of your romance novel can greatly enhance the story. Whether it’s a small-town bakery, a bustling city, or a college campus, the setting should contribute to the mood and themes of the novel. Always remember to use sensory details—honor all five senses—to bring the world to life and create opportunities for romantic moments. 

11. Be Mindful of Tropes

Tropes are common themes or plot devices that appear frequently in romance novels, such as “enemies to lovers,” “fake dating,” “forbidden love,” or “love triangle.” While tropes can provide a familiar framework, they can also feel clichéd if not handled thoughtfully. Put your own spin on popular tropes to make them fresh and unique.

12. Balance the Degree of Intimacy and Plot

Romance novels vary widely in their explicit content. Some focus on the sweetness of relationships, while others explore lusty encounters. The level of intimacy should fit the story and characters. No matter the degree of explicitness, scenes in your story should always serve the plot and character development.

13. Understand Your Sub-genre

Romance is a diverse genre with numerous sub-genres, from contemporary, gothic, paranormal, and romantic suspense to historical, time travel, LGBTQ+, and more. Each sub-genre comes with its own conventions and reader expectations. For example, a historical romance would likely require meticulous research for historical accuracy, while a paranormal romance might demand an otherworldly, imaginative approach.

14. Edit Ruthlessly

First drafts are rarely perfect, so get comfortable with that truth. Think of the first draft as you telling yourself the story. Then, take the time to revise and polish your manuscript’s second draft (and third and fourth, if necessary). Look for inconsistencies in character behavior, plot holes, and areas where the pacing drags. Pay special attention to emotional beats and dialogue so they resonate. Consider seeking feedback from beta readers or critique partners who are familiar with the romance genre.

15. Respect Your Audience

Romance readers are devoted and discerning. They know what they like and expect stories that deliver on the genre’s promises. Avoid stereotypes, clichés, or outdated attitudes and beliefs that might alienate your audience. Instead, focus on creating inclusive, respectful, and emotionally engaging stories that celebrate love in all its forms.

Conclusion

Writing a romance novel is about more than just crafting a love story. It’s about creating an emotional journey that readers can’t put down. By following these rules and infusing your unique voice and creativity, you can craft a romance novel that resonates with readers and leaves them swooning. Remember, the heart of a great romance is authenticity, so let your characters and their love story come through.

_________________________

10 Romance Novels Across Sub-Genres

Pride and Prejudice by Jane Austen – A classic Regency romance featuring the iconic love story of Elizabeth Bennet and Mr. Darcy.

Outlander by Diana Gabaldon – A time-travel romance blending history, adventure, and passion between Claire Randall and Jamie Fraser.

The Notebook by Nicholas Sparks – A contemporary tearjerker about a lifelong love affair.

Bridgerton: The Duke and I by Julia Quinn – The first book in the Bridgerton series, full of regency romance and witty banter.

Me Before You by Jojo Moyes – A heartfelt, bittersweet romance between Louisa Clark and Will Traynor.

The Hating Game by Sally Thorne – A fun enemies-to-lovers workplace romance.

Red, White & Royal Blue by Casey McQuiston – A modern queer romance featuring the son of the U.S. president and a British prince.

Seven Days in June by Tia Williams—A beautifully written, emotionally intense romance about two authors who had a passionate affair as teens and reconnect years later. 

The Rosie Project by Graeme Simsion – A quirky romance featuring a genetics professor’s unconventional search for love.

Eleanor & Park by Rainbow Rowell – A young adult romance about first love and the struggles that come with it.

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Do you read or write romance? If so, what sub-genre is your favorite?

Sending you mad writing mojo…

Happy writing!

Svergonata: How Starting A YouTube Channel Is Like Writing A Novel

Writing exposes us and makes us vulnerable. Our knee-jerk response is oftentimes to pull back and stuff the impulse. But when we see start to see how doing much in life makes us vulnerable, and when we see others doing vulnerable things, it can provide a gateway to allow us to, as Susan Jeffers wrote about way, way back in the 80s, feel the fear and do it anyway.

It takes a certain mindset—this word, “Svergonata.”

Fear kept me from starting this channel in earnest for way too long. I hope that after you watch, you’ll join me in doing things that make you vulnerable, like writing your novel. And that you’ll embrace the svergonata mindset.

Putting ourselves out there, sharing our stories, isn’t always easy. But I’m convinced that stories can heal the world, so let’s embrace the svergonata mindset and do it together. (There’s safety in numbers.)

Get my “10 Ways to Banish Writer’s Block So You Can Write Your Novel” flip book.

I believe in energetic reciprocity. When you subscribe to my email list and/or my YouTube channel, we’re doing something more than simply exchanging currencies—your email address for my content.

We’re collectively growing a community of mindful, evolving people
who embrace the reality that stories can heal the world.

Sending you mad writing mojo…

Happy Writing!

Johnnie
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